Turf Projects, Keeley Road, Croydon, London, CR0 1TF

Agnes Calf: Silence is so accurate

Agnes Calf: Silence is so accurate,  installation view at Turf Projects, 2017. Photo: Tim Bowditch.

Agnes Calf presents a new body of gold-tinted work at Turf Projects providing a setting for an exploration of an artwork’s apparent mutism in the face of perception, archivism and interpretation.

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Witte de With Center for Contemporary Art, Witte de Withstraat 50 - 3012 BR Rotterdam

Laure Prouvost: the wet wet wanderer

Laure Prouvost, installation view, 'the wet wet wanderer' (2017), Witte de With Centre for Contemporary Art, Rotterdam. Photo: Kristien Daem

Prouvost’s installation transforms the ground floor of Witte de With into a sodden sub-aqueous bar. Combining sculpture, video and sound, the form of a mundane high street commercial space is defamiliarized. Here language is as slippery as a squid, function as deceitful as fiction. From the press release.

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Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin

alien matter

alien matter, installation view at Haus der Kulturen der Welt, 2017.

The exhibition 'alien matter' aims to examine new relationships between man and machine through the work of thirty artists brought together around four thematic focal points: artificial intelligence, plastics, infrastructure and the internet of things. Review by Anaïs Castro.

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Bodega, 167 Rivington Street, Lower Level East, New York

Hannah Black: Soc or Barb

Hannah Black: Soc or Barb, installation view at Bodega, 2017

Today there are many critical voices calling for America to look carefully at the political landscape of Europe in the interwar years. Hannah Black’s second solo exhibition in America, ‘Soc or Barb,’ uses an abridged citation of the communist philosopher and activist Rosa Luxemburg to remind her audience of a previous political precipice, the failed 1918 German Revolution. Review by Alexandra Symons Sutcliffe.

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narrative projects, 110 New Cavendish Street, Fitzrovia, London W1W 6XR

Mahmoud Bakhshi: The Unity of Time and Place

The Unity of Time and Place, Detail 8

Mahmoud Bakhshi's exhibition addresses the violence of Iran's 1979 revolution, and as the title, ‘The Unity of Time and Place’, suggests, the past inhabits the present too. Review by Henry Broome

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IMT Gallery, 2, 210 Cambridge Heath Rd, London E2 9NQ

you were high when I was doomed

Installation view, you were high when I was doomed, IMT Gallery

The walls of the gallery have been spray painted to resemble some kind of toxic sky, with poisonous greens and billowing hues of black and purple. It creates a trail of changing colours like some kind of Romantic painter’s nightmare, through to its charred end. Review by Theo Turpin

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Rodeo, 123 Charing Cross Road London WC2H 0EW, UK

Condo: Haris Epaminonda

Installation view, Haris Epaminonda, VOL.XIX, Rodeo, London, 2016.

For VOL. XX, the nineteenth edition of 'Volumes', Haris Epaminonda uses disparate material from her collection of pottery, books and historical objects.

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Tensta Konsthall, Taxingegränd 10, Box 4001, 163 04 SPÅNGA, Sweden

Trevor Paglen: Autonomy Cube

Trevor Paglen, ‘Autonomy Cube’ 2014. Installation view,Tentsa Konsthall, 2017.

Trevor Paglen's 'Autonomy Cube' is made in collaboration with digital civil liberties activist, computer security researcher, and artist Jacob Appelbaum, and provides a secure Wi-Fi network to gallery visitors. Creating a network through "onion routing" the work makes users’ precise information virtually untraceable.

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Gemeentemuseum Den Haag, Stadhouderslaan 41, 2517 HV Den Haag, Netherlands

Rinus Van de Velde

Rinus Van de Velde, installation view at  Gemeentemuseum Den Haag, 2016

Stepping into Rinus Van de Velde’s installation situates one in an outsized and totally absorbing graphic novel. His large and powerful charcoal on paper drawings tell of life at an artists’ colony led by the idiosyncratic, manipulative and fictional sculptor Isaac Weiss, just the latest in a string of stand-ins Van de Velde employs in his work. Review by John Gayer.

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Modern Art Oxford, 30 Pembroke Street, Oxford, OX1 1BP

Lubaina Himid: Invisible Strategies

Lubaina Himid: Invisible Strategies, installation view at Modern Art Oxford, 2017

Opening the day following the inauguration of President Trump, Lubaina Himid’s exhibition at Modern Art Oxford comes at a significant moment. Yet it must be remembered that as an artist, curator and self-described ‘political strategist,’ Himid has worked tirelessly throughout her practice over the last 30 years to highlight the implicit and systemic racial exclusion within British art institutions and society.

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